Post-production Supervisor
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Post-production Supervisor
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Post-production Supervisor
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Post-production Supervisor
Identity Thief (2013)
Directed by: Seth Gordon
Cinematography by: Javier Aguirresarobe
Edited by: Peter Teschner
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Post-production Supervisor
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Post-production Supervisor
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Post-production Supervisor
American Reunion (2012)
Cinematography by: Daryn Okada
Edited by: Jeff Betancourt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Post-production Supervisor
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Post Production Supervisior, Post-production Supervisor
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Post-production Supervisor, Postproduction Supervisors
Cirque du Freak: The Vampire's Assistant (2009)
Directed by: Paul Weitz
Cinematography by: James M. Muro
Edited by: Leslie Jones
Post-production Coordinator
The Break-Up (2006)
Directed by: Peyton Reed
Cinematography by: Eric Alan Edwards
Post-production Coordinator
In Good Company (2004)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Edited by: Myron Kerstein
Post-production Coordinator
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Post-production Coordinator
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Post-production Coordinator
American Wedding (2003)
Directed by: Jesse Dylan
Cinematography by: Lloyd Ahern II
Edited by: Stuart H. Pappé
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Coordinator
Big Fat Liar (2002)
Directed by: Shawn Levy
Cinematography by: Jonathan Brown
Post-production Coordinator
The Scorpion King (2002)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Post-production Supervisor
American Pie 2 (2001)
Directed by: J.B. Rogers
Cinematography by: Mark Irwin
Cameras: Moviecam Compact Camera
Lenses: Angenieux HR Zoom Lenses, Cooke S4 Lenses
Post-production Coordinator
The Caveman's Valentine (2001)
Directed by: Kasi Lemmons
Cinematography by: Amy Vincent
Edited by: Terilyn A. Shropshire
